Sardine Restaurant Bali Prices

Seminyak Bali is renowned as one of the areas in Bali which has a variety of world-class restaurant with high quality flavors and stunning scenery. Located on Jalan Petitenget 21 Kerobokan, resto this one being one of the recommendations of the website's travel guides, Lonely Planet. As the name implies, this restaurant serving fish and seafood priority as their mainstay menu. The main raw material in this place is very fresh because it is the catch directly from the fishermen in the area of Jimbaran and well-grown organic vegetables. Rows of seafood menu such as Pan Seared Wild Snapper, Papua Crab Tower, Kumamoto Oysters On The Half Shell and Barramundi Steamed in Banana Leaf, ready to fill the void in the midst of rice fields stomach that is the central feature of this place.

Additionally, Sardine Restaurants also provides a menu of Balinese as Babi Guling served with organic rice, ferns and beans are spicy as complementary. For the tasting menu this one should spend Rp. 130,000. Or it could also dicipi non-seafood menu such as Blackened Mahi Mahi, smoked chicken with black tea and many other exotic options.

Resto which became the talk of the tourists in Bali was founded by a French businessman, Pascal Chevillot and also interior designer from Slovenia, Pika. If you look around this restaurant it is obvious bamboo become a key element in the interior of the building to produce a thick atmosphere of rural Bali. If you are interested to visit this place, Sardine Restaurants open starting at 11:30 to 1:00 and closed on Mondays. For matters of price, Sardine Restaurants Bali prices ranging from Rp. 50,000 to Rp. 200,000, a reasonable price to redeem presented scenic beauty of this place

Majapahit Empire History

The establishment of the Majapahit empire history begins in the event of an attack Jayakatwang, Raden Wijaya charge facing the north, it turns out a larger attack it launched from the south. So when Raden Wijaya returned to the palace, he saw the Royal Palace Singasari nearly engulfed in flames and heard Kertanegara been killed along with other dignitaries. Finally, he fled with the remnants of his army were still loyal and helped villagers Kugagu. Having felt safe he went to ask for protection from Aryawiraraja Madura. With her help he succeeded to the throne, the area presented to Raden Wijaya attractiveness as a regional power. When it comes to Java Mongol army led Shih-Pi, Ike-mise, and you Hsing with the aim of punishing Kertanegara, then Raden Wijaya exploit the situation to cooperate attack Jayakatwang. After Jayakatwang killed, the Mongols partying to celebrate the victor. The opportunity was also used by Raden Wijaya to turn against the Mongols, so that the Mongols were expelled from Java and return to his country. Then in 1293, Raden Wijaya ascended the throne and the title of Sri Kertajasa Jayawardhana.

Majapahit Empire

Kings in Majapahit Empire History

Kertajasa Jawardhana (1293 - 1309)
Is the founder of the Majapahit kingdom, during his reign, Raden Wijaya assisted by those who have all contributed to pioneer the establishment of the kingdom of Majapahit, Aryawiraraja very great merit was given dominion over the East covers an area Lumajang, Blambangan. Raden Wijaya ruled by a very kind and thoughtful. The composition of the government was not different from the composition of the Kingdom of Singasari.

King Jayanegara (1309-1328)
In the Majapahit empire history, Kala Gemet succeeded his father to the throne with the title of Sri Jayanegara. In pemerintahannnya period marked by revolts. For example, in 1231 saka Ranggalawe uprising, rebellion Ox Sora 1233 saka, saka 1235 uprising Demung Savior, Blue Elephant 1236 saka rebellion, uprising Nambi, Lasem, Semi, Kuti with Bandaderga events. Rebellion Kuti is a dangerous rebellion, almost breaking down the kingdom of Majapahit. But it can be overcome. Jayanegara king himself was killed by his doctors called Tanca. Tanca eventually killed anyway by Gajah Mada.

Tribuwana Tunggadewi (1328 - 1350)
Jayanegara king died without leaving a putrapun, therefore it is supposed to be a king is Gayatri, but because he had become a monk then replaced by his daughter Bhre Kahuripan with Tunggadewi Tribuwana title, assisted by her husband, Kartawardhana. In the year 1331 raised a mutiny by Sadeng area and Keta (Besuki). The uprising was crushed by Gajah Mada who at the time was Patih Daha. For his services Gajah Mada is appointed as the Majapahit Empire Mahapatih replace Pu Dragon. Gajah Mada then tries to show his loyalty, he aspires to unite the archipelago, assisted by MPU Nala and Adityawarman. In 1339, Gajah Mada swore not eat Palapa before archipelago united. Oath is known Palapa Oath, while the contents of amukti palapa is as follows: "Seagrass luwas lost archipelago isum amakti palapa, seagrass Desert lost ring, ring Seram, Sunda ring, ring Palembang, ring Tumasik, samana sun amukti palapa". Then Gajah Mada do conquests.

Hayam Wuruk
In the Majapahit empire history, Hayam Wuruk ascended the throne at a very young age is 16 years old and holds Rajasanegara. In the reign of Hayam Wuruk, accompanied by Mahapatih Gajah Mada, Majapahit reached its golden. From the Book Negerakertagama can be seen that the area of power during the reign of Hayam Wuruk, almost coextensive with the Indonesian region now, even the influence of the Majapahit kingdom to countries tettangga. The only area that is not subject to the powers of Sundanese kingdom of Majapahit was then under the rule of King Siliwangi. Hayam Wuruk intend to take Sunda daughter to be queen. After the daughter of Sunda (Diah Pitaloka) and his father King Siliwangi along the Sunda authorities are in Bubat, Gajah Mada deceit, Gajah Mada did not want the marriage to the daughter of the Sunda Hayam Wuruk carried away. He wants the daughter Sunda dedicated to Majapahit (as a tribute). Then there was disagreement and finally Bubat war. Many casualties on both sides, Sri Baduga fall, Sunda daughter suicide.

Gajah Mada died in 1364, the Majapahit Empire lost a mahapatih second to none. To select a successor is not an easy job. Saptaprabu Council which has several times held a hearing to choose a replacement Gajah Mada finally decided that Patih Hamungkubhumi Gajah Mada will not be changed "to fill in the gaps in the implementation of government appointed Tandi sebagais Wridhamantri MPU, MPU Nala as Amancanegara minister and governor dami as Yuamentri. King Hayam Wuruk died in 1389.

Wikramawardhana
Kusumawardhani crown princess who ascended the throne of his father's place Wikramawardhana married. In practice Wikramawardhanalah who run the government. While Bhre Wirabhumi Hayam Wuruk children of concubines, because Bhre Wirabhumi (Princess Hayam Wuruk) of concubines he shall not have the right to occupy the throne yet it is still given the power to govern in the Eastern Majapahit, which Blambangan area. Power struggle between Wikramawardhana with Bhre Wirabhumi called Paregreg war.

Wikramawardhana died in 1429, later kings reign row is Suhita, Kertawijaya, Rajasa Ward, Purwawisesa and Brawijaya V, which does not escape marked the struggle for power.

History of "Reog Ponorogo Dance East Java"

Reog Ponorogo dance (east java) history derived from folklore. There are five versions of the story developed, but the most famous is the story of the rebellion of Ki Ageng lice. Told that Ki Ageng lice which is a royal servant Kertabumi Bhre during the 15th century. He did rebellion because anger will reign king corrupt and powerful affected the wife of the king of Majapahit who came from china. He then left the king and establish martial college. However, aware that his army was too small to fight the royal troops, then he made a show of art Reog which is an allusion to the king and his kingdom Kertabumi.

Reog Ponorogo Dance

In Reog Ponorogo performances shown mask shaped head of a lion, known as the "lion barong", king of the jungle, which became a symbol for Kertabhumi, and above plugged peacock feathers to resemble a giant fan that symbolizes the strong influence of his Chinese colleagues who manage the over all movement geriknya. Jatilan, played by a group of dancers gemblak riding piggyback become a symbol of the power of the kingdom of Majapahit troops into the strength Warok contrast ratio, which is behind the mask of red clown who became a symbol for Ki Ageng lice, alone and carry the weight of the mask Singabarong which reaches more of 50 kg only by using his teeth.

Reog Ponorogo popularity Ki Ageng lice eventually cause Bhre Kertabhumi take action and attack perguruannya, rebellion by Warok quickly resolved, and universities will be forbidden to continue teaching Warok. However, students still continue Ki Ageng ticks quietly. However, art Reognya itself is still allowed to be staged since the show has become popular among the public, but the story has a new groove in which the added characters from folklore that Kelono Sewandono Ponorogo, Goddess Songgolangit, and Sri Genthayu.

The official version Reog Ponorogo storyline now is the story of King Ponorogo who intend applying daughter Kediri, Dewi Ragin Yellow, but on the way he was intercepted by King Singabarong of Kediri. King Singabarong forces consisted of peacocks and lions, while the King of the Kingdom of Ponorogo Kelono and Deputy Bujang Anom, escorted by Warok (men dressed in black in the dance), and this Warok have deadly black magic. The whole dance is a dance battle between Kediri Kingdom and the Kingdom of Ponorogo, and pitted black magic between them, the dancers in the "possessed" when performed dances.

Traditional Dance from Yogyakarta : Serimpi

Serimpi dance is a classical dance from Yogyakarta. This dance is performed by four female dancers are beautiful and graceful. Serimpi word itself means four. But there are also Serimpi danced by five dancers are on Serimpi Renggowati. In addition to means of four, the term serimpi also associated with the word 'IMPI' which means dream. That is, someone who saw this dance will probably feel like being in a dream.

Serimpi dance performances usually last for ¾ hour to 1 hour. The composition of the four dancers representing the four cardinal points and the four elements of the world. Elements of the world include grama (fire), wind (air), Toya (water), and earth (ground). Classical dance was originally developed only Kraton. According to belief, Serimpi is a noble art and the heritage palace. In this dance, the theme of which are served by the same real dancers with dance Bedhaya Sanga. This dance depicts a conflict between two things: between right and wrong, passion and reason, and right and wrong.

Serimpi dance performed by four daughters who each represent elements of life and the direction of the wind. In addition, these dancers also have the name of each role that Buncit, Dhada, Gulu, and Batak. Currently Serimpi dance, dancer composition form a rectangle. This form is not without significance, but symbolizes pole rectangular Hall.

The emergence of this dance is said to come from the kingdom of Mataram when the reign of Sultan Agung. This dance is considered very sacred because only done within the palace for a state ceremony and memorial sultan ascended the throne. In 1775, broke into two Mataram Sultanate of Surakarta and Yogyakarta Sultanate. It is also an impact on this dance. Although dance is still the same core, but Serimpi in Yogyakarta become Serimpi Dhempel, Genjung, and Babul screen. While in Surakarta be Serimpi Bondan and Anglir overcast. Although this dance has been around a long time, but the dance is only known by the public about the '70s because it was so close to divinity dance palace.

The theme of war in this dance is actually a philosophy of life of eastern culture. War in this dance is symbolic battle that never run out of between evil and good. Even in war dance movements express, dance is seen more clearly as two Pasanga soldiers against other soldiers with the same movement with the equipment dibandu dance form of weapon. Property dance used in them are jebeng, cundrik or small dagger, pistol, arrow and spear.

In terms of clothing, the clothing worn by the dancers also experienced growth from the previous. If initially the clothing worn like a palace princess wedding dress with a bun bowl as a headdress and dodotan, currently turned-dancer costume sleeveless clothing, fried bun with flower decoration, and cassowary feather headdress. Characteristics of Serimpi dancer is wearing a small dagger tucked in the front of the cross to the left.

In addition to a dagger, the dancers Serimpi also sometimes use a kind perisak jembreng. During the reign of Sri Sultan HB VII is the 19th century, there is also the tool Dance Serimpi fired a gun battle in the form below. This dance accompaniment patterns using gising sabrangan for entry and exit of the dancers accompanied by the sound of drums and brass. At the time of dancing with ageng or mid-piece is then entered gising ladrang. Furthermore, crane fly and srebengannya diguanakn to accompany the battle scene.

Q&A Traditional Dance from Yogyakarta : Serimpi

Is serimpi dance a traditional dance?

Answer: Yes, serimpi dance is a traditional dance.

What are the characteristics of serimpi dance?

Answer: The graceful and delicate movements of the dancers, along with their traditional Javanese attire and the accompanying gamelan music, are the hallmarks of serimpi dance.

What is the name of the traditional dance from Yogyakarta?

Answer: The traditional dance from Yogyakarta is called serimpi dance.

What are the movements of serimpi dance from Yogyakarta?

Answer: The movements of serimpi dance from Yogyakarta are slow, graceful, and delicate, with intricate hand gestures and footwork.

Where does serimpi dance originate from?

Answer: Serimpi dance originates from the royal courts of Yogyakarta and Surakarta in Central Java, Indonesia.

Where did serimpi dance come from?

Answer: Serimpi dance came from the royal courts of Yogyakarta and Surakarta in Central Java, Indonesia.

What is the story told by serimpi dance?

Answer: Serimpi dance typically tells stories of courtship and romance, as well as themes of loyalty, devotion, and faithfulness.

Why is it called serimpi dance?

Answer: It is called serimpi dance because the word "serimpi" means "to arrange beautifully" in Javanese, which reflects the elegance and beauty of the dance.

What are the accompanying music for serimpi dance?

Answer: The accompanying music for serimpi dance is typically played by a gamelan ensemble, consisting of various traditional Javanese percussion instruments and occasionally other instruments such as flute or string instruments.

What are the musical instruments used in serimpi dance?

Answer: The musical instruments used in serimpi dance are the traditional Javanese percussion instruments of the gamelan ensemble, such as kendang, gong, and saron, along with occasionally used flute or string instruments.

How many dancers are there in serimpi dance?

Answer: Serimpi dance can be performed with a single dancer or a group of dancers, typically in odd numbers such as three, five, or seven.

What is the traditional art of Yogyakarta?

Answer: The traditional art of Yogyakarta is a combination of various forms of performing arts, such as music, dance, theater, and puppetry, that have been passed down from generations.

What is the famous traditional art from Yogyakarta?

Answer: The famous traditional art from Yogyakarta is the Wayang Kulit, a form of shadow puppetry that combines storytelling, music, and intricate puppetry techniques.

Does lawung dance come from Yogyakarta?

Answer: No, lawung dance does not come from Yogyakarta. It is a traditional dance from the island of Bali in Indonesia.

What are the types of movements in serimpi dance?

Answer: The types of movements in serimpi dance are slow, graceful, and delicate, with intricate hand gestures and footwork. The dancers often move in circular patterns and perform a variety of poses and movements that reflect the story being told through the dance.

What are some examples of traditional arts?

Answer: Some examples of traditional arts include music, dance, theater, puppetry, storytelling, weaving, and pottery-making, among others.

What is an example of a traditional art?

Answer: Wayang Kulit, a form of shadow puppetry from Yogyakarta, is an example of a traditional art in Indonesia.

What are some examples of traditional performing arts?

Answer: Some examples of traditional performing arts include dance, theater, puppetry, and storytelling, all of which are often accompanied by traditional music and other forms of artistic expression.

Local Culture in Pontianak : Tepung Tawar

The traditional ceremony  "Tepung Tawar" (Fresh Flour) is a local culture in Pontianak, West Kalimantan. "Tepung Tawar" traditional ceremony has now become a necessity, becoming a trend these moderns era, of course, we glanced at the back of the existence of this "Tepung Tawar" traditional ceremony which in antiquity as it becomes a necessity for the people who carry out a ritual ceremonies both in the home life stairs and ceremonies for the community at large. "Tepung Tawar" traditional ceremony performed by the public generally stout Malay and Dayak but the Malay community plain flour ceremony known in general there are four types namely Fresh Wheat Board, Mayit "Tepung Tawar", Wheat "Tepung Tawar"water Freshwater Equipment and Home. Of the four types of the "Tepung Tawar" each having a difference whether relating to equipment and materials used. As "Tepung Tawar" Board is composed of rice flour, yellow rice, berteh-fighting fighting leaves, willow leaves, leaves a girlfriend, as well as the smell of oil (miyak Bugis). Later the smell of oil smeared on certain body parts and for women simply do not need to touch the condition of the body (navel)

The tradition of plain flour body intended for small children carry hair clippers or swing ride (ride tojang), perform marriages, and that will dihitan for men and peremtuan. The object that will be given according to the procedure applicable, as well as using leaves dilampas fighting-fighting and leaves thousands and thousands who have been in the dip on a set of plain flour equipment. As for the parts sequentially imposed on the forehead, right shoulder, left shoulder, right hand, left hand, right leg, and left leg while alloy berteh dissipated on the left and the right. Ritual "Tepung Tawar" can not be done sermbarangan because it uses a special lafaz not be disclosed herein, it should be accepted prior to the experts.

Plain flour can also be done for the families who died after three days buried, generally performed as cleaning equipment used bath deceased, equipment stored outside the home in "Tepung Tawar" called Pesulli event (cleaning equipment deceased). Equipment in life such as motorcycle, car, boat, generally is mounted on the vehicle when new use and when the unfortunate. The goal is to ask for salvation with the assurance that there is still unseen forces that influence in life and still beg salvation to God Almighty.

Plain flour deceased with "Tepung Tawar" is not much different from the others only used oil smell and replaced with chicken eggs are placed in a vat of water bathing the deceased. The purpose of the ceremony known deceased plain flour with Pesilli that family members left behind is always patient receives a test from Allah. Can avoid disaster by pleading to be kept away from any disaster that comes with safety please, not just humans, and also equipment that has been used with a form of gratitude has been used as toiletries.

In rituals "Tepung Tawar" deceased equipment used dilampas with leaves in their thousands, and other equipment. The new equipment is clean should be brought into the house previously stored outside the home. The eggs are stored in vats and baths discarded immediately sprinkled with gray kitchen deceased as saying that in life all must die, and that has happened to be submissive like ashes back to the place of origin.

The ritual "Tepung Tawar" flour equipment like others, just do not use the smell of oil. Usually this is a fresh ditepung Drive new or vehicles that have received a disaster such as an accident or vehicle lost rediscovered. Public confidence with "Tepung Tawar" that vehicle, the vehicle used to bring salvation and also can bring disaster, because these vehicles use materials made of iron, it is called the old iron, that iron can bring good luck and fortune can bring harm. This belief is still attached dimasyarakt in general that the iron-containing supernatural powers (no penunggunya spirits that often follow an iron). So that belief can not be separated from the request that the powers that be can be a positive force can affect the life of the wearer. And ask for permission to keep it in safety. If this is not done with "Tepung Tawar" majority of public confidence will affect the soul, crashing or being hit by a vehicle could be stolen and even ordinary expressed by the words "Sueh". Lafaz mentioned prayer can not arbitrarily through certain procedures.

"Tepung Tawar" ceremony for infant children also performed with ritual with all the preparations are provided for family members who have a celebration. The equipment needs to be prepared and to complete must already exist when the event starts. The fixture tools include; Pounded rice mixed with pandan leaves and turmeric made tepung.Daun-leaf needed for tool "Tepung Tawar" is made of coconut leaves like flower footprint duck given stemmed called pentawar, the number two. Then the leaves are arranged with a number of more or less and twenty kinds tied then cut ends of the base so that the flat surface is called tetungkal the number three small buah.Nyiru made of bamboo or woven leather called layau also used for fanning the body called hood basket. Iron, wood current, former baker wood tied with a rope called them pengkeras. Tied yarn that played above their heads according hopefully it can be fastened his family into a strong and solid bond is like a thread that has been pounded itu.Tepung and stirred in a bamboo tube diameter measuring approximately twenty centimeters, setingginya eighteen inches and made of bamboo Betung use for storing flour that has been stirred, bamboo tube is called a landslide hood. Rice entered into bushels, betel, areca nut, tobacco, gambier, chalk, coins called pengkeras enough. Rice dyed with saffron yellow rice or rice called turmeric. Members who carry three people to tetungkalnya and two people to carry out pentawarnya, the number five.

How to implement this after a "Tepung Tawar" stirred flour, tetungkal and bidders are made of leaves and palm leaves were dipped in flour and then stamped on his forehead, left hand and right, center, left and right foot by reading the prophet invocation or prayer for salvation . After the completion ceremony of "Tepung Tawar" then proceed with the next baby is cutting hair. Invitations were present at the event was the closest family and neighbors.

Symbolic interactionism theory as proposed by Veeger is a portrait of the people are not using concepts such as systems, social structures, position status, social roles, social stratification, institutional structures, cultural patterns, norms and values social-value, but by using the term "action". As depicted ceremonial role will be a community adhesion, so that the ceremony will be more and more often done to strengthen the highly related to one another, so that it becomes a necessity and the interdependence and balance in life together.

The need to be preserved values ceremonial rituals, because in the ceremony terms with values in life, especially local knowledge, that man can not be separated from kehilapan and error, always begging for mercy and guidance to Allah, by continuing to implement the obligations in the life in the world, each other mutual support, respect the elderly, respect the environment both moving objects and objects that are not moving that these items have benefits for life and it is part of Allah's creatures who can not disembarangkan and also water and in order to be kept clean environment illustrated with "Tepung Tawar" water intended for jagan mutual suspicion and prejudice with others and have a clean heart. Always tighten siratul rahmi brothers around us subdued sense of solidarity in a variety of life, in order to reach shared desires to live in keteraman avoid mala disaster and stay away from the disaster in order to realize the aspirations of all human beings on this earth

Kecak Dance (Bali) History

Did you know about Kecak Dance from Bali History ?

Kecak dance is usually referred to as a "smack" or dance of fire (Fire Dance) is a dance show or entertainment and tends mass as the art of ballet drama and dance as an art entirely describe the role of "The play puppet" like Rama Sita and not specifically used in Hindu religious rituals like worship, temple ceremony and other ceremonies.

Form - the form of "Sacred" in the Kecak dance is usually indicated in kerauhan or masolah that magically immune to not burned by fire.

Kecak Dance from Bali

Uniqueness
Unlike other Balinese dance using the gamelan as a musical accompaniment, but in this Kecak dance performance only combines the art of sound - the sound of the mouth or cries - cries like "cak cak cak cak to all" so that this dance called Kecak dance.

Kecak dance can be found in several places in Bali, but that in Uluwatu is the most interesting to watch because of its attractions along with the sunset or sunset.

Kecak Dance was created in the 1930s by Wayan modulus in collaboration with the German painter Walter Spies based on tradition Trance and parts of the Ramayana story. Wayan modulus at popularizing this dance around the world with his troupe of Balinese dancers.

In addition to the story of Ramayana, there are some titles and themes Kecak are often staged as:
- Vali and Sugriva Kecak, created in 1976.
- Kecak Dewaruci, created in 1982.
Both were the work of Mr. I Wayan Dibia.

Saman Dance Lyric

Saman dance usually displayed not using accompaniment of musical instruments, but using sound of the dancers and their applause that usually combined with chest and groin hit them as synchronization and threw the body into different directions. This dance is guided by a leader who is usually called the sheikh. Because of the uniformity of formation and punctuality is a must in this dance show, the dancers are required to have a high concentration and serious training in order to perform perfectly. This particular dance is danced by men.

Saman Dance

The Saman dance lyric that used to accompany the saman dance is as follows

Hey jala....
Heeeey.......

Ratu madodah...
Assalamualaikum, kame ucapkan, para undangan, yang katreteka, karena
salam, Nabi kunsunan, jarota mumat, tanda mulia

Mulia waroh, ranung konengan, mulia rakan, lame suara, karena salam, Nabi
kunsunan, jarota mumat, tanda mulia

Hai Jala, tu mile la mile,

Jala tu la jala, tu mile la mile hey jala tun
Lamburat, menari leum ateuh,
Ronggunong lahombak, cabong bungo lum ane ane lengkuak

Kutiding Lahang Dingham,

kutiding lahang dingham, la hembot, bot la tiding, la hembot, bot la tiding
Hayna pute pute, hayna pute pute, la pute, si bungong pute la pute, si bungong pute,
Haylen laba binte, haylen laba binte la binte ke ayo mate la binte, ke ayo mate

Mile, Mile Layha, Aiwa laha e hala

Hai mile, mile lahe, Aiwa laha o hele
Mengetam tage, kutu kutu keje, mangen kebahlen, jarum kuase

Mengingat kelam, berkaing kaing, kute lagi musim, jarum kuase

Hai mile mile halaha, walaha e hala,
Mile mile halahe, walahe o hele
Tapula pula bumbang, magadon gadong adang,
haylen laba binte, ke ayo ayo mate
Ala mile ala aha, walaha e hala
Ala mile ala ahe, walahe o hele

Hayla Hotsa,

ila lahumbakmeu, ahlun kapaydi, etre lama bure, bure hay bacute
Salah lahmun konsa, lahlun salahmu, lahpen awaydi, gatra lam perahu
Layar labu kau, sabang kapatang, tiang kamengku, alahal manyone,
Hose ladingone, saying wahai e, cut bangke mayang mayang sendang hayla hotsa

Ratu madodah....

Hey jala.... Heeeey.......

Jaipong Dance from Bandung, Indonesia

Jaipong dance was created in the 1960s by Gugun Gumbira artist from Bandung. The goal is to create the type of music and dance association excavated from the wealth of folk art traditions of western Java. Dance Jaipur developed based on folk art that already exists. Gugun Gumbira inspired by folk art, one of which is Tap Tilu making know and know well about the patterns of dance traditions that exist in Kliningan or Bajidoran or Tap Tilu. So that he can develop a dance or art that is now known by the name Jaipongan.

Jaipong Dance from Bandung, Indonesia

Motion Dance Jaipong distinguished several sections including:
1. The opening movement is also called Bukaan
2. Part of movements called Pencungan
3. Termination or point called Ngala
4. Relocation of transition after Ngala called Mincit

Dance Jaipong widely known start-1970s, originally called Tap Tilu basic dance development as a development of Tap Tilu and thick with color ibing tap tilu of segia choreography and music. Eventually dance Jaipur has its own characteristics. Dance Jaipur is the first known dance Daun Pulus Keser Bojong and Rendeng Bojong. Both are types of dance that played the woman. Jaipong dance describe the joy, humor, passion and spontaneity so much Jaipong dance played to welcome foreign guests.

Perahu dan Matahari (The Boat and the Sun) Paintings by Affandi (famous painter from Indonesia)

Painter: Afandi
Year: 1971
Title: Perahu dan Matahari  (The Boat and the Sun)
Media: Oil on Canvas

Painting "Perahu dan Matahari" has the meaning and philosophy in life, there is a high learning of this painting.

Meaning of the painting tells the human struggle to wade through the ocean to reach a destination, and the journey is a lot of obstacles, ranging from storm waves are small to large, but after the waves and the storm passed, a ray of sun gives light, bringing them up to a destination they want. From the stories they could have taken the philosophy of life, which they managed to navigate the vast ocean, because it has a definite purpose and a great desire to achieve what they want, they are adamantly trying and never give up, they do not matter as much as anything, for whatever storms and waves block, they deal with it, because of the waves and the storm will pass, replaced with beautiful sunshine, to the place of their dreams.

Likewise, meaning in life, humans like wading through an ocean of life, symbolized by Boat Man, hope symbolized by the Sun, life is symbolized by the ocean the ocean, obstacles, problems, trials in life is symbolized by the waves and storms. Every human being has a direction of his life respectively, even have dreams or impianya respectively, only humans who memiiliki direction definite purpose in life, persistent fighting and never give up, that would be up to a life where they are headed, according to what they want (success), although the storm and the waves of life come and go, never deter them to retreat, run or even give up. They always have hope cercah above expectations in the painting symbolized as the Sun, they have confidence in what they are doing, that storms and waves in the course of their lives will pass, they will come to a place like the life they want, and they believe that their dreams will come true.

They are referred to as the fighter's life, which became a great man in the future, when they succeed through the waves and storms of life, and can prove that they could, they would become a symbol of a successful man for another man.

That's the philosophy of meaning in life, which is described by the legendary maestro Affandi painter in a high-style abstract artwork.

This painting can be an inspiration, motivation and philosophy for you the collector or lover Maestro Painting works in your life. Because there is meaning and philosophy behind the painting in this, which is to be conveyed by the painter maestro.

Ayam Tarung (Chicken Fight) : Paintings by Affandi (famous painter from Indonesia)

Painter : Affandi

Year : 1979

Title: Ayam Tarung (Chicken fight)

Media: Oil on Canvas

Fighting cock themed painting is one of the favorite themes of Affandi, so he made some chicken themed paintings fighting in different versions, there are more than 10 versions of fighting chicken paintings by Affandi, one of which is the following Tarung Chicken painting.

Depicts a cock fight fierce, between white Rooster to golden and black to golden, which is a symbol of the struggle between evil and the truth, that's what happens in life, in every human being, where every time always faced between two options good and bad, there is always a fight between the two, sometimes truth must be eliminated, sometimes evil must be eliminated, but that is certainly the truth will always win in the end.

Ayam Tarung  is one especially Javanese folk tradition that became popular entertainment, and served as an arena of betting, only strong chickens selected entry in this battle arena, and the best chicken will win this fierce battle, to become the jawara.

Two chickens in this painting is the best chickens with fierce fighting, living and dead, to determine who the true champions.

Kebun Cengkeh (Clove Garden) Paintings by Affandi (famous painter from Indonesia)

Painter: Affandi
Year: 1981
Title : Kebun Cengkeh (Clove Garden)
Media: Oil on Canvas

A high-class art works of the painter maestro Affandi, depicts a clove plantation landscapes, hilly plantation areas unspoiled what it seems painted from nature, to liven up the painting, dihadirkanya human figures as a supporting object, but is the essence of painting, which show an activity that blends with the natural life. Expression typical scratches Affandi unique look, which makes it a special painting.

As with most Affandi who always put the Sun as part of the main object, but in this painting, the unique placement of the sun visible, as if the artist takes the perspective is reversed position of the sun, so the sun does not appear in the painting behind the hill, but appeared over the hill and cover hill, this uniqueness may be owned only by Affandi, as the way he is in the air standpoint expression, where the quality of the imagination as a painter renowned maestro.

Baksa Kembang : Tradisional dance from South Kalimantan

Baksa Kembang (Flower) dance comes from the Banjar, South Kalimantan as a dance to welcome guests. This dance is usually danced by women, both single and can also danced by several female dancers. Beginning approximately the 15th century BC, a prince named Suria Ganga dynasty in Dipa and Daha kingdom on the island of Borneo has a girlfriend named daughter Kuripan. One other events in time is when the daughter Kuripan give a red lotus flower to the prince. That event was the forerunner born Baksa dance Fireworks in Banjar South Kalimantan province.

According Yurliani Johansyad, classical dance expert Banjar. Dance Flower Baksa there since before the reign of Sultan Suriansyah first king kingdom of Banjar. This dance was created one period to the other Baksa dance,  Baksa Dadap, Baksa Lilin, Baksa Panah dan Baksa Tameng from Hindu era before Islam came.

Baksa Kembang is dance to welcome the guests of honor or royal relatives. This tradisional dance is also performed by the general public in weddings or custom events. Originally this dance is a dance that was in the kingdom. At one time, the kingdom of open access to the public realm so that the culture of the kingdom brought to the general public. Currently, dance Baksa Flower still used events to welcome the guests were honored even though there are many dancers dance Flower Baksa not understand the meaning and value of the Flower Dance Baksa. Baksa has a sense of softness. Baksa dance flower is in the form of softness host welcomes an honored guest. The welcome was done by dancers dance Baksa Flower provide flower arrangements to honored guests. The values are the transformation of love lovers Syrian prince with a princess Kuripan Ganga Dynasty.

Flower Baksa dance dancer must odd. In addition, the flower arrangements given to the guest of honor is a blend of flower arrangements roses and jasmine flower is called by local people Bogam.

Traditional Dance from West Java

West Java Is One Indonesian provinces in densely populated areas, the population density is due to the region of West Java has a strategic geographical location, not far from the capital, have the facilities and education centers, trade centers and has abundant natural resources, so that many residents outside the crowd come to West Java, other than just to gain knowledge, shop and take a holiday, but they also exist among deliberately try his fortune to live and settle in West Java. Famous West Java community with people who are friendly, polite and courteous and have high creativity. 

One testament to the creativity that was built by the people of West Java is the creation of traditional dances from West Java. Here are some of the traditional dances of West Java:
1. Jaipongan
2. Tap Tilu
3. Digenjring Bonyok
4. Sipytri Sintren
5. Mask Cisalak
6. Horse Renggong
7. Nail Jajar
8. Queen Graeni
9. Ronggeng
10. Mask Hero Member Priangan

That's some traditional dance from West Java, in fact there are many dances of West Java still have not mentioned the name and yet to be formalized as a traditional dance from West Java.

Serimpi dance from Yogyakarta

Serimpi dance is a classic dance of Jogjakrta are always performed by four dancers because serimpi word means four world symbolizing the four elements, namely: fire, wind, air and earth (ground). Serimpi dance showed by four daughters with Batak role name, Gulu, Dhada and Buncit 4 pillars that symbolize the pavilion. Dance serimpi associated with IMPI word or dream for graceful dance movement makes the audience feel on dreamland.

That said, history Serimpi dance originated from the period between 1613-1646 reign of Sultan Agung of Mataram Kingdom. In 1775 the Mataram kingdom broke into the Sultanate of Yogyakarta and Surakarta Sultanate and the impact on the dance serimpi. In the Sultanate of Yogyakarta classified into Serimpi Babul screen, Serimpi Dhempel, Serimpi Genjung. While in the Sultanate of Surakarta classified into Serimpi Anglir Overcast and Serimpi Bondan.

Although it has been created for a long time, this new dance known Serimpi many audiences since the 1970s because it was considered sacred dance and only staged in the palace for the ritual state. Serimpi live in the palace of Yogyakarta and an art considered heirloom adhiluhung and Kraton.

Dance Clothes Serimpi experiencing growth. If at first like princess bride clothes Kraton Yogyakarta style with dodotan and bight bokornya as decorative motifs head, then later switch to a sleeveless shirt with frayed feather headdress cassowary and fried bun decorated with flowers. Characteristics of the dancers Serimpi is dagger tucked in the front cross to the left. The use of a dagger on Serimpi dance is due to be used in the battle scene, which is a characteristic motif depicting Dance Serimpi dispute between two opposites between good and evil, between right and wrong, between the human mind and human passion.

Basic Motion Concepts of Traditional Indonesian Dance

We've all watched a dance performance, either directly or through electronic media such as television. Of the show, we can observe a variety of dance is done. Have you discussed this observation? Of course of you have a different understanding because you observe the dance is different from the others. Each dance has a different motion but has a similarity that has the power, space and time.

Indonesia has a rich diversity of dance that is different between tribes. Of course we can see the characteristics of each ethnic dance different from each other. For instance motion on Malay and Sundanese dance performed always coincide with the beat (on the beat) with power being. Javanese dance tends to be done in slow motion and force are. Balinese dance performed by the energy and time varying motion. These differences are caused by the energy released, space, and time varying movement between each dance.

Fig 1. Motion with strong force element

Consider dance in Figure 1, the figure shows that dance movement has a strong element of force, motion carried rampak by the dancer, a dancer who was appointed by some other dancers such as lifting a heavy object, which has a strong sense of power.

Power used by dancers to support his friend certainly greater than the force raised dancer. Manpower strength to withstand heavy loads concentrated on his hands. Similarly, in every exercise, of course, takes power. Use in power have a strong intensity, moderate and weak depending on how the use or distribution of such power.

Fig 2. Pose gestures wide open

Consider dance shown in Figure 2. Pose motion showed broad visible space between the body and arms are done in groups of dancers. All the dancers perform the same space. Motion in space can be done alone, in pairs or groups. In addition to requiring power and space, the motion also requires time. Any movement takes time. Differences fast or slow motion associated with the tempo. So tempo is: fast or slow motion carried.

Fig 3. Motion Respect

The function of the dance tempo is to provide a dynamic impression that dance becomes enjoyable. Consider Figure 3, respectful motion dancer poses one another with different dancers. A dancer who performed with a faster tempo, while the next dancers performed with a slow tempo, the tempo setting is done differently with the same movement.

Traditional Theatre in Indonesia

Indonesia is a country with diverse cultures, and tradition plays a significant role in shaping the country's identity. Traditional arts such as dance, music, theater, and crafts are integral to Indonesian culture, and they have been passed down from generation to generation for centuries. These traditions are often deeply rooted in the beliefs and customs of the local communities, and they reflect the country's rich cultural heritage.

Traditional arts have evolved over time, and many contemporary artists have been incorporating modern elements into their work to appeal to a broader audience. For example, traditional dance forms like the Javanese court dance, which was once performed exclusively for the royalty, have been adapted for public performances and competitions. Similarly, traditional music forms like Gamelan and Keroncong have been infused with modern instruments and styles to make them more accessible to younger generations.

In recent years, there has been a growing interest in traditional theater in Indonesia, particularly in the form of puppetry. Wayang Kulit, or shadow puppetry, is one of the most popular traditional theater forms in Indonesia, and it has been recognized as a Masterpiece of Oral and Intangible Heritage of Humanity by UNESCO. Contemporary puppeteers are experimenting with new techniques and themes, using the traditional art form to comment on modern social and political issues.

Despite the modernization of traditional arts, many Indonesians continue to hold on to their traditional values and customs. Traditional ceremonies, such as weddings, funerals, and religious festivals, are still celebrated across the country, and they often involve intricate rituals and performances. These ceremonies play an essential role in preserving and passing down cultural traditions from one generation to the next.

Some traditional Indonesian theater is as follows:

1. Lenong (Traditional Indonesian Theatre of Batavia)

There are two forms of Lenong;
(1) Denes
Denes Lenong spectacle tells of kings and princes in the kingdom, now it is rarely encountered, since almost no successors.

(2) Lenong Preman

Performances of "Lenong Preman" tells about ordinary people, as we know it today, in the beginning, Lenong Preman played all night. Since the days of growing and demand situation, the changes occur.

Along with the launch of TIM (Taman Ismail Marzuki), lenong that had just played in the villages, by SM. Ardan, brought to TIM, but when the show was shortened by one or two and a half hours.

Another traditional Betawi theater include Betawi Mask (Topeng Betawi), Mask Blantek (Topeng Blantek) and Jipeng (Jinong).

•  Lenong using musical instrument "Gambang Kromong"

•  Topeng Betawi using musical instruments "Tabuhan Topeng Akar"

•  Topeng Blantek using musical instruments "Tabuhan Rebana Biang"

•  Jipeng or Jinong using musical instruments "Tanjidor"

Lenong performances using Betawi. Historically, Lenong under the influence of the theater Nobility.

2. Longser (traditional Indonesian Theatre in West Java)

Longser is a traditional theater art form in Indonesia that originated in the 1920s and gained widespread popularity until the 1960s. The name Longser is derived from the words "Melong" meaning seeing and "seredet" meaning intrigued. This term refers to the emotional impact that a Longser show can have on its audience. The show is designed to captivate the audience with its simple, witty, and entertaining performances.

Longser shows can be performed anywhere, as they do not require elaborate decorations. The seating arrangement is circular, which allows the audience to be close to the performers and to have a clear view of the show. Longser performances usually consist of a group of actors, dancers, and musicians who work together to tell a story through movement, music, and dialogue.

Longser shows often feature comedic and satirical elements, with actors portraying exaggerated characters and situations. The characters in Longser shows are often based on archetypes of Indonesian society, such as the poor farmer, the wealthy merchant, or the cunning thief. Some of the most famous Longser characters include Ateng Japar, Bang Tawes, Bang Tilil, Bang Soang, and others.

Despite its declining popularity in recent years, Longser remains an important part of Indonesian cultural heritage. Many efforts have been made to preserve and promote Longser, such as holding festivals and competitions, documenting performances, and providing training and support for performers. Longser continues to be an entertaining and engaging form of traditional theater, beloved by audiences across Indonesia.

3. Ketoprak (Indonesian Traditional Theatre in Central Java)

Ketoprak is a form of traditional theater in Indonesia that originated from the Javanese culture, specifically from Central Java. It is believed to have been first staged around 1909 and was initially called Ketoprak Dimples. At first, Ketoprak was just a game played by villagers to entertain themselves by using a mortar that sounded at full moon, which was called gejogan entertainment. However, Ketoprak later evolved to become a complete and popular traditional theater spectacle that includes music, drums, flutes, singing, and drama that depicts the lives of people in the countryside.

Ketoprak has become an important aspect of Javanese culture and is often performed during cultural events and festivals. It usually tells a story about the struggle of the common people against the power of the elites, with elements of comedy and satire added in. The stories often feature Javanese mythology, legends, and history. The characters are usually played by male actors, although female roles are also present in some Ketoprak performances.

The music and songs in Ketoprak are an essential part of the performance. They are usually played by a gamelan orchestra, consisting of traditional Javanese instruments such as gongs, xylophones, and drums. The music and songs are meant to enhance the emotional impact of the story being told and to convey the feelings of the characters.

Ketoprak has undergone various changes and developments throughout its history. In modern times, it has been influenced by Western theater and cinema, leading to the incorporation of new elements such as lighting, costumes, and set designs. Despite these changes, Ketoprak remains an important part of Javanese culture, and efforts are being made to preserve and promote this traditional art form.

4. Ludruk (traditional Indonesian Theatre in East Java)

Ludruk is a type of traditional theater that originated from Jombang, a city known as the city of students in Indonesia. It is performed using the East Javanese dialect of the Javanese language. Ludruk has become popular over time and spread to other areas, including the western region of the Madiun and Kediri residency, and to Central Java.

One of the unique aspects of Ludruk is that all the roles are played by men. The performances are characterized by the use of humor, satire, and parikan, which are humorous Javanese verses. Ludruk's stories often depict the daily struggles and challenges faced by ordinary people in society, and their fight against oppression.

The influence of parikan in Ludruk theater is significant, as it adds humor and light-heartedness to the performances. An example of a famous parikan sung during the Japanese colonial era by Cak Durasim, which depicted the struggle against the kempetei, the Japanese military police. The parikan goes like this: "Pagupon Omahe doro melok Nipon added soro," which means "Our house is small, but the Japanese (kempetei) is even smaller."

Despite being a traditional form of theater, Ludruk remains popular and relevant in modern-day Indonesia. It has been performed in various festivals and events, showcasing the country's rich cultural heritage.

5. Arja (traditional Indonesian Theatre in Bali)

Arja is a traditional Balinese theater that has been popular for many years in Bali. It is a unique form of traditional theater that is known for its emphasis on dancing and singing. Originally, Arja was performed by men, but over time, women have taken on a more prominent role in the art form, due to its emphasis on dance.

The performances in Arja are generally based on the Gambuh story, which is a story of contrast. However, over time, other stories from the Ramayana and Mahabharata have also been incorporated into the performances. The characters that appear in Arja include Melung (Inye, Lean), a servant girl, Galuh or Sari, Limbur or Prameswari, the king and princess, paramedics, and others.

The dancers in Arja performances are highly trained and skilled. They are able to convey a range of emotions through their movements, and their movements are often accompanied by the sounds of gamelan music. The performances are elaborate, colorful, and visually stunning, with elaborate costumes and makeup.

Arja is an important part of Balinese culture and is often performed during temple ceremonies and other important events. The performances serve as a way to connect people to their culture and history, and to preserve traditional forms of expression. The popularity of Arja has led to the establishment of Arja schools in Bali, where young people can learn the art form and continue its legacy for future generations.

6. Kemidi Rudat (traditional Indonesian Theater in NTT)

Kemidi Rudat is a traditional theater performance that is popular in West Nusa Tenggara, Indonesia. This form of theater is similar to other traditional theater forms found in Indonesia. The Kemidi Rudat spectacle is a combination of drama, dance, and singing.

The word "Rudat" means marching, and it is said that the origin of the word comes from the influence of the Malay culture. The music used in Kemidi Rudat performances has a Malay influence and is played using drums, tambourines, violins, and other instruments. The story of Kemidi Rudat is based on old Malay stories, and the dialogue is spoken in the Malay language.

Kemidi Rudat performances are known for their colorful costumes and lively dance movements. The performers wear traditional Malay clothing, such as sarongs and kebayas. The dance movements are accompanied by the rhythm of the music and are meant to tell the story of the performance.

Kemidi Rudat is an important cultural tradition in West Nusa Tenggara, and it is often performed during special events and celebrations. The performance is a symbol of the region's rich cultural heritage and is an important part of its identity.

7. Kondobuleng (traditional Indonesian Theatre in  Makassar)

Kondobuleng is a traditional theater form originating from Makassar, which is part of the Bugis culture in Indonesia. The name "Kondobuleng" is derived from the words "condo" which means stork and "buleng" which means white, hence "Kondobuleng" means white stork. The spectacle of Kondobuleng is filled with symbolic meaning and is played spontaneously, just like any other traditional theater. The symbolic story revolves around humans and storks and is presented with a combination of jokes, motion, and stylization.

What sets Kondobuleng apart from other traditional theaters is the absence of a boundary between the player character and the property that is used in a particular scene. In other words, the actors play multiple roles, including inanimate objects. For example, they can play the role of a boat crossing the ocean while also portraying characters on board the boat. This unique approach to acting creates an immersive experience for the audience and makes the performance more engaging.

Kondobuleng is not only a form of entertainment, but it also plays an important role in preserving the Bugis culture. The traditional theater form is passed down from generation to generation and is seen as a way to keep the Bugis culture and traditions alive. Today, Kondobuleng is still performed in Makassar and other parts of Indonesia, showcasing the rich cultural heritage of the Bugis people.

8. Dulmuluk (traditional Indonesian Theatre in Palembang)

Dulmuluk is a traditional theater performance that originated in Palembang, South Sumatra, Indonesia. It is a type of theatrical performance that tells stories from the Abdoel Moeloek saga, with the main character named Dulmuluk, hence the name of the theater. Dulmuluk is also known as the Indra Duke Theatre.

The performance of Dulmuluk involves a combination of drama, dance, and singing as a means of storytelling. Music is also an integral part of the spectacle, as the actors sing their dialogue. The music is played using traditional instruments such as the gong, rebana, and gendang.

The Dulmuluk spectacle is well-known for its use of humor and jokes, making it a lively and entertaining performance. The use of dance, singing, and drama create a dynamic and engaging performance, which draws in the audience and keeps them captivated throughout.

Dulmuluk has been passed down through generations and has become an important part of Palembang's cultural heritage. It is often performed during traditional ceremonies, such as weddings and religious festivals, and is also featured in cultural festivals and events. The Dulmuluk spectacle has become an important symbol of Palembang's rich cultural history and identity, and continues to be celebrated and performed by local communities today.

9. Randai (traditional Indonesian Theatre in Minangkabau)

Randai is a traditional theater performance that originated from the Minangkabau culture of West Sumatra, Indonesia. The term "Randai" is derived from the word "randah", which means to invite or summon. The Randai theater performance has its roots in oral literature called "kaba", which means "story". The kaba is in the form of couplets and quatrains sung to the accompaniment of various musical instruments, including the rabab, saluang, bansi, and tambourine.

The Randai performance takes place in a circular pattern, based on the movements of contrasting dance and martial arts movements, which are called "wave". The stories that are told in the Randai spectacle are often oral stories in the form of legends and fairy tales that are popular in the community. The performance is characterized by the integration of music, singing, dance, drama, and martial arts.

The Randai performance is usually exhibited in the context of traditional ceremonies or festivals. It is a unique art form that is often used to preserve cultural heritage and promote cultural identity. The Randai theater is also used as a tool for social and political commentary, as it can address issues that are important to the community.

The martial arts movements in Randai are not just for show, but they also have practical applications. The movements are derived from traditional Minangkabau martial arts, which are used for self-defense and combat. The martial arts movements in Randai are performed by the dancers in synchronization with the music, creating a mesmerizing visual spectacle.

Overall, Randai is a unique and fascinating art form that combines music, singing, dance, drama, and martial arts. It is an important cultural heritage of the Minangkabau people and a valuable contribution to the world of theater.

10.Makyong (traditional Indonesian theater in Riau)

Makyong is a traditional theater art form that originated from the Mantang island in Riau, Indonesia. It started as a dance and singing performance, but later evolved into storytelling, depicting legends and folk tales. The art form was highly regarded by nobles and sultans, and was often exhibited in palaces. The spectacle begins with a ceremony presided over by a panjak, who is responsible for all offerings given for salvation.

Humor, dance, singing, and music are the main components of a Makyong performance. What sets Makyong apart from other traditional theatrical performances is that it is predominantly played by women. If male performers do appear, they always wear masks, while the female performers do not. The stories of the play are based on oral literature in the form of fairy tales and legends that are popular in the community.

Makyong is a highly ritualistic art form that requires a lot of preparation and discipline. The performers must undergo rigorous training to perfect their movements and singing, and the costumes and makeup must be meticulously crafted to create a visually stunning experience for the audience. The music and instruments used in Makyong are also unique, consisting of traditional Malay instruments such as the gambus, rebab, and serunai.

In recent years, Makyong has seen a resurgence in popularity, thanks to efforts by cultural preservationists and the government to promote traditional art forms. Makyong festivals are now held annually in various regions of Indonesia, providing a platform for artists to showcase their skills and for audiences to experience the beauty and richness of Indonesian culture.

11.Mamanda (traditional Indonesian Theatre in Banjarmasin)

Traditional theater Mamanda is a cultural heritage from Banjarmasin, South Kalimantan. Its roots date back to 1897 when the Duke Malacca group arrived in Banjarmasin, bringing with them the story from the poem Abdoel Moeloek. Despite Banjar people being familiar with various traditional arts such as puppets, masks, Rudat, dancing, Hadrah, and Japin, the Duke group managed to carve out a special place in the society with their unique theatrical performances.

Over time, the group’s name changed to Badamuluk Duke and eventually evolved into Bamanda or Mamanda. The term Mamanda itself comes from two words, "mama" meaning "uncle" and "nda" meaning "honorable". Thus, Mamanda is translated to "Dear Uncle". The structure and characterization of Mamanda performances have remained relatively unchanged over the years, except for some minor modifications in terms of dressmaking, hairdressing, music, and artistic expression.

Mamanda performances typically involve a group of male actors who play different roles, ranging from the lead characters to supporting roles. The storyline often revolves around the themes of love, betrayal, and family conflicts, and the performances are usually accompanied by traditional music, dance, and singing. The actors in Mamanda theater use their voice, movement, and facial expressions to convey the emotions and messages of their characters.

Despite the popularity of modern entertainment, traditional theater Mamanda still holds a significant place in the cultural heritage of South Kalimantan. It serves as a reminder of the rich history and traditions of the region, as well as a means of passing down cultural values and beliefs to future generations.

Q&A : Traditional Theatre in Indonesia

What is a traditional theater?

A traditional theater is a form of performing arts that has been passed down through generations and has deep cultural roots in a particular region or country.

What does the most well known form of traditional theater in Indonesia consist of?

The most well known form of traditional theater in Indonesia is wayang kulit, a form of shadow puppetry.

What is a well known Indonesian theater popular?

Wayang kulit is a well-known and popular Indonesian traditional theater.

What are the elements of Indonesian theater?

The elements of Indonesian theater include music, dance, storytelling, and visual arts, often combined to create a rich and immersive theatrical experience.

What is a traditional theatre art of Indonesia?

Wayang kulit is a traditional theater art of Indonesia that involves shadow puppetry.

What is the traditional entertainment in Indonesia?

Traditional entertainment in Indonesia includes various forms of music, dance, puppetry, and theater.

What are the three traditional forms of theater?

The three traditional forms of theater are puppetry, dance drama, and masked theater.

Is wayang kulit a traditional theater form in Indonesia?

Yes, wayang kulit is a traditional theater form in Indonesia.

Is wayang kulit a traditional theater art of Indonesia?

Yes, wayang kulit is a traditional theater art of Indonesia that has a long history and cultural significance.

What is the most popular Indonesian traditional ensemble?

The most popular Indonesian traditional ensemble is the gamelan orchestra, which often accompanies wayang kulit performances.

What country is known for their traditional theater art form?

Many countries have their own traditional theater art forms, but some well-known examples include Japan's Noh theater, China's Beijing opera, and India's Kathakali.

What is one of the most famous forms of arts in Indonesia?

One of the most famous forms of arts in Indonesia is batik, a traditional textile art that involves dyeing fabric with intricate patterns.

What kind of theatre is wayang kulit?

Wayang kulit is a form of puppet theater that uses shadow puppets made of leather to tell stories.

What are the traditional types in wayang kulit?

The traditional types in wayang kulit include the heroes (pandawa), the villains (korawa), and various gods and goddesses from Hindu mythology.

Where did wayang kulit theatre originate?

Wayang kulit theater originated in Java, Indonesia, and has since spread to other parts of the country and Southeast Asia.

What is wayang puppet theater?

Wayang puppet theater is a traditional form of puppetry from Indonesia that involves using intricately designed puppets to tell stories from Hindu epics.

What instrument is wayang kulit theater?

The main instrument used in wayang kulit theater is the gamelan orchestra, which typically includes a variety of percussion and melodic instruments.

What are the main characters of the wayang kulit theater?

The main characters of the wayang kulit theater include the heroes (pandawa), the villains (korawa), and various gods and goddesses from Hindu mythology, such as Krishna, Arjuna, and Sita.

What is the function of wayang kulit as a theater form?

The function of wayang kulit as a theater form is to entertain, educate, and transmit cultural and moral values to the audience, while also serving as a form of ritual and spiritual expression.

What is the story of wayang kulit?

Wayang kulit tells a wide range of stories from Hindu epics, such as the Ramayana and Mahabharata, as well as local legends and folklore. These stories often feature themes of good vs. evil, heroism, and the triumph of virtue over vice.